Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Mongolia and from Calgary.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1969 to 1970.
I'm losing my edge.
To all the kids in Tehran and Manchester.
I'm losing my edge to the art-school Madrid kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1977 at the first Human League practice in a loft in Sheffield.
I was working on the theremin sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Avey Tare to the techno kids.
I played it at the 40 Watt.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by E-Dancer. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Donny Hathaway record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your oboe and bought a güiro.
I hear that you and your band have sold your güiro and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Lakeside,
Eve St. Jones,
The Remains,
Sad Lovers and Giants,
Wally Richardson,
The Last Poets,
Oppenheimer Analysis,
Kerrie Biddell,
the Normal,
Carl Craig,
Graham Central Station,
Gregory Isaacs,
Steve Hackett,
Soft Machine,
Sister Nancy,
Lou Reed & Metallica,
Nick Cave & The Bad Seeds,
Beasts of Bourbon,
Hot Snakes,
Max Romeo,
Avey Tare's Slasher Flicks,
The Young Rascals,
Kango’s Stein Massive,
Bill Wells,
Sly & The Family Stone,
Ituana,
L. Decosne,
Marmalade,
Marvin Gaye,
John Holt,
Gil Scott-Heron & Brian Jackson,
Negative Approach,
Lalo Schifrin,
Pulsallama,
Eden Ahbez,
Bobby Hutcherson,
The Index,
Vaughan Mason & Crew,
Flamin' Groovies,
One Last Wish,
Man Eating Sloth,
John Foxx,
Sunsets and Hearts,
the Fania All-Stars,
Cluster,
Josef K,
The Cowsills,
Trumans Water,
Skriet,
Susan Cadogan,
Dual Sessions,
Danielle Patucci,
Black Sheep,
Banda Bassotti,
Notorious BIG live in Amsterdam,
Country Teasers,
Electric Light Orchestra,
Joensuu 1685,
Pierre Henry,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.